The Identity of the Early Qajarid Architectural Decoration and its Sources From the Beginning to the End of Fath Ali Shah Period (1785-1834)

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The Identity of the Early Qajarid Architectural Decoration and its Sources


M. Zandieh1,*, A. Fahimi Far2, I. Khaleghi 3, F. Mohammadi


The Qajar dynasty was a time of civil wars as well as the wars against Russia, meanwhile, Qajarid Shahs, understanding the power of sublime art both in internal and external political relations, tried to expand and renew the style of the mural decorations which is the issue of this article. Increasing the relations with European countries like England and France, Fath Ali Shah and his court were influenced by European diplomacy, culture and art. Also they were deeply inspired by pre-Islamic royal and artistic concepts and styles. Early Qajarid murals were the obvious return to tradition; this study tries to identify the sources and socio-political reasons that lead to this movement.

In the other hand, realizing the function of the mural decoration and political determination of the king and his court in early Qajarid period, which moved away from the common Zand theme and function (the Persian former dynasty) and followed the imperial art of the Achaemenid and Sasanid eras, can explain their formation of historical compositions and majesty of their artworks. By the seventeenth century, as a result of extended contacts with Europe the unfamiliar tradition of painting in oil on canvas was gaining currency among Persian artists. Although the medium was borrowed from European painting, the style remained largely indigenous. The influence of imperial Sassanian and Achaemenid themes also appeared on the carved figural reliefs. Mural decoration and art were led to serve political affairs in order to legitimise the Qajar dynasty.
Keywords: Mural Arts, Architectural Decorations, Oil Peinting, Iran, Qajar Dynasty, Agha Muhammad Khan, Fath Ali Shah,

1. Introduction

The Qajar dynasty came to power after the Zand rulers. During this period Persia witnessed some of its most decisive changes, mainly originating from international developments. The rise of the Qajar dynasty brought to an end a long period of political instability that characterized eighteenth-century Persia. During this period Persia was influenced by European diplomacy, frightened by its armies, and fascinated by its culture and artistry. As a result of drastic socio-political and cultural alteration during the Qajar period, art emerged with a new style and theme. The impact of Europe on Qajarid architecture is identifiable more in the façade and murals rather than internal planning and function.

Early Qajarid murals occurred in three media:-rock relief, wall painting and painted tile. The majority of painting during the Fath Ali Shah period is executed at life size an important aspect in assessing the development of early Qajarid art.

This study aims to identify the cultural and artistic of the early Qajarid mural decoration and its sources.

Qajarid mural decoration and painting has been studied by relatively few scholars, but these include Zoka, (1963& 1970)4, Diba (1989)5, [1], [2], [3], [4], [5], [6], [7], [8], Sharifzadeh (1994a; 1994b)6, Najmabadi (1999)7, [9], and [10]. Some of these examinations have focused on European influence on Qajar art, but in general these mainly analyse Qajar art in technique without specific focus on the environmental factors. Most focus on Qajarid painting rather than mural decoration. Close studies of Qajarid mural decoration have not been carried out.

As a result, much of the Qajar artistic legacy was destroyed during the Pahlavi period, including the Tekkie-Dowlat, (The amphitheater of government) which was destroyed between 1946 and 1949. Another victim was the Emarat-e Nu palace in Isfahan with mural paintings signed by Mihr-Ali, as well as other governmental and private buildings [10], [11], [12].

Because of destroying or changing the original shape of much early Qajarid building much of the royal mural decoration and wall painting was destroyed, badly damaged or displaced (figs. 1 & 2).8 This study has therefore focused on surviving wall paintings or those which are displaced and now preserved in different museums or private collections.

2. Cultural and socio-political environment

During the Qajarid period Persia underwent drastic changes in its cultural and socio-political environment. The role of cultural factors in developing Persian mural decorations particularly apparent during the Qajarid period. The sources were varied and redefined under the intensive influence of Europe, which opened up an absolutely new phase in Persian architecture and mural decoration. Reform of the cultural environment imposed new characteristics and styles.

Due to its strategic position, foreign powers such as Russia, Britain and France tried to dominate Persia politically, economically and culturally. European encroachment upon Persia first came in the form of conquest and the creation of spheres of influence by rival European powers.

The negative effect of defeat by foreigners is traceable not only in art, architecture and mural decoration but also in many different aspects of Persian life. The war with European powers, particularly Russia, was not conceived simply as a military campaign. Indeed, it was seen as a confrontation between Persian civilization and Europe. Consequently, military defeat accelerated modernization [13]. The social structure of modern Persia took shape in the Qajarid period. The pattern of social and cultural advancement established over a century of development had a profound influence on art. The process of modernization was accompanied by foreign political penetration and a reduction of national self-confidence. The gradual domination of European cultural and artistic values was seen as a national humiliation. The modernization of Persia is widely held to have been started by Abbas Mirza the Crown Prince of Fath Ali Shah [14], [15]. This changed the traditional social, commercial and political climates and led art in new directions. Modernization of art, architecture and mural decoration and painting which had begun during the Safavid period continued to the Qajarid period.

Despite the effects of Europe the early Qajarid School discarded the European style and favoured native traditions. So the court of Fath Ali Shah still followed the traditional concept in terms of politics, culture and art.


Fig.1&2. A view in the Golestan palace naqhashi khaneh building, showing fragmentary wall paintings dating to the first half of the 19th century. Oil on plaster. Photograph by the author.

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